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Leacock, Richard. a Feeling of Being There

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Leacock, Richard. a Feeling of Being There A Search for the Feeling of Being There Richard Leacock May 20, 1997 When I was eleven years old and a pupil at an English boarding school something extraordinary was done; we were shown a film, a silent 35mm full length film from the Soviet Union, TURK-SIB, about the building of the tran-Siberian Railway. I was riveted, astounded; here was what I had been looking for and it was simple, all I needed was a movie camera and I could do it myself. I had been raised on my father’s plantation in the Canary Islands. We grew Bananas, Tomatoes, we made cement pipes and pumped irrigation water. Of the more than 200 men and women that worked there I think about three could read and write. They worked with oxen and camels. There were no schools where we lived so I had a wonderful time until it was decided that I should go to school --- in England --- cold, dark, little boys in short pants with chapped knees and chilblains.... eventually I got used to it and in a perverse kind of way, enjoyed it. But how to explain to my schoolmates, where I came from and what life in my Garden of Eden was like? Turk-Sib was the answer. So three years later with the help of school friends Polly Church and Noel Florence, armed with our detailed scenario which included drawings of each shot, a 16mm Victor camera and an elegant Thailhamer Tripod we made a 14 min. black & white, silent film; CANARY BANANAS, a film I am proud of, that can still tell you all you need to know about growing Bananas but it fell far short of giving you the feeling of being there. It informed you but it didn’t involve you. In 1938 at the ripe old age of 17, I went as photographer-film-maker to the Galapagos Islands as a member of David Lack’s expedition to learn more about Darwin's finches. We lived on a “desert island”, isolated, not even a radio. I spent most of my time with the Angermeyer brothers who had listened to Hitler and fled; it was a bit like Robinson Crusoe, I loved it. I did what I was supposed to do and filmed the birds and just about everything else that moved but the result gave you no feeling whatever of “being there”. By 1941 we were shooting synch sound. Features had been “talkies” for a decade but it was easier for them, they created their own controlled world in the safe confines of vast studios and here we were making a Documentary on American folk music in the hills of Virginia and Tennessee. Madness! No electricity there. So a truck-load of lead storage batteries and a motor converter from 110 volts DC to 110 volts 60 cycle AC, powering a 35mm optical film recorder and a 35mm film camera. you turned them on and adjusted the DC to get the frequency of the AC up to 60 cycles and when the sound camera and the picture camera stopped hunting you yelled “speed” and then the clap-sticks and the director, Geza Karpathy, murmured “relax” to the petrified musicians. And it was a good two weeks before you got to hear the play-back! It worked but not much spontaneity with that rigmarole to contend with. This was professional film making, the leading edge. Documentary couldn’t go on avoiding the issue by laying music and narration on silent pictures. We were going into the “real world” and systematically destroying the very thing that we were looking for. Why not make our films in studios like the big boys do? Don’t be silly! It wasn’t just the technology, it was the attitude of a professionalized industry aping the world of the fiction film -- it still is. Today, when we have available, superb portable sensitive mini-digital cameras and sound equipment the impact of filming or videoing is just as ridiculous and even more so because it is utterly uncalled for. I have been filmed by various Television crews and invariably the routine is just as disruptive as ever. Four or five large men come busting into our tiny apartment with tripods, camera, microphones, booms, light-stands... it is politely suggested that you sit “there, no a bit to the left, now turn your head, do you mind if we move the painting on the wall, it’s distracting and we can see a reflection of the sound man...” “can you give us a level? just say anything”... and you start to say what you are to say and the sound-man says “cut! I’m picking up the refrigerator, can some one unplug it... thanks , now just take it from the head again...” and perhaps they want a shot of you talking on the street so you are expected to walk “casual like” with cameraman soundman and assistant walking backward in front of you. At last it is over! In the early sixties I thought we had solved these problems by a set of working rules designed to make it possible for us to get as near as we could to observing our subjects with minimal impact. No lights, no tripod, no microphone boom or pole, never wear headphones (they make you look silly, and or, remote) never more than two people, never ask anyone to do anything and most especially never ask anyone to repeat an action or a line. Allow lots of time, don’t shoot all the time, if you miss something, forget it in the hope that something like it will happen again. Get to know your subject if possible in order to generate some kind of mutual respect, if not friendship. OK these are rules, not laws, and rules can be broken: This means no interviews, fine I’m sick of interviews but when I filmed Louis Brooks in her very private apartment in Rochester N.Y. it was an interview and that was that! Why not ask some one to repeat an action that you missed? It is not a question of morality but just try it. I was filming the editor of the Aberdeen S. Dakota newspaper; while I was reloading my camera, his secretary ran in and told him that Senator McGovern was calling from Washington... It was wonderful so I loaded up and asked her to do it again. Weeks later I was screening rushes in New York and Joyce Chopra and I and some friends saw it! Horrors! It was ridiculous, like some third rate TV soap! In general, when you are making a film you are in a situation where something you find significant is going on. Usually the people you are filming want to help you get what they think you want to get; often as a way of getting rid of you. And this can be fatal because they are then second-guessing you and can end up destroying the possibility of achieving your aim. I remember Bob Drew and I coming into the lawyer’s office when we were making THE CHAIR. He asked what he could do for us, we said, “nothing”, put our equipment in a corner and went out for coffee. A little later we came back in and he was back at work doing what had to be done, having decided that we were nuts. We kept our distance and started filming as he picked up his phone... What am I looking for? I hope to be able to create sequences, that when run together will present aspects of my perception of what took place in the presence of my camera. To capture spontaneity it must exist and everything you do is liable to destroy it... beware! Filming is searching for and capturing the ingredients with which to make sequences. You are not going to get “the whole thing”, you are lucky to get fragments but they must be captured in such a way that you can edit. If there is dialogue you know that editing is more restricted and you must find ways to deal with this problem without recourse to that dreadful concept: the “cut away”. If music is involved the problems are even more complex. The making of sequences is, for me, at the heart of film making. I had always assumed that you just got the bits of an action and put it together and Bingo! you have a sequence. But there are all kinds of things that you may want to convey with a sequence and it was not until I worked as cameraman on Robert Flaherty’s LOUISIANA STORY that I started to learn from him, the complexity of this process. We were a tiny crew, most unprofessional. We shot, day after day, for 14 months more often than not, just the three of us, Mr. & Mrs. Flaherty, she with a Leica, he and I often with two Arriflex 35mm cameras, recently liberated from Hitler’s Wehrmacht, and sometimes an assistant. We shot and shot. If something appealed to us, never mind that it wasn’t in the script, film it. A beautiful cloud, swallows wheeling through the sky preparing to migrate, a water-lily pad with a drop of water on it in perfect light, a spider completing the building of its web. Often the camera in motion or panning and tilting, no rules except look, look through the camera lens, search. The first time I ever met Mr. Flaherty was in 1936 just after I had completed the Banana film.
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